The phrase ‘an acquired taste’ could have been made for Polly Scattergood. She has a little girl lost voice and a tendency to cast herself as a needy victim to such an extent that the preference may be to send her to a good psychoanalyst than indulge in her recorded confessions. Her self-titled debut included a song called “I Hate The Way” in which Scattergood listed all of the things wrong with her and included the line ‘not all men are bad and I’m not like your dad and I’ll hold you even though you’re slightly mad’ sung from the perspective of her boyfriend. But she can have a way with a tune and her best tracks were perverse and genuinely dark, atmospheric electro pop songs. “Arrows” picks on up the synth-pop element of her first collection and broadens it with ballads as contrast; this is an album that is more slow than fast, are just as black-hearted and desperate.
“Wanderlust” has a Numanesque overarching synth and sounds like Goldfrapp at their squelchiest. It’s nice but derivative and the silky “Disco Damaged Kid” is one of the many songs here that builds into something very different from its first couple of minutes but fails to live up to the vivid imagery suggested in its title. “Falling” has a rougher New Order indie pop sound and “Machines” is a standout, a tender electronic ballad which builds to a convincing enough passionate climax. “Subsequently Lost” is probably the pop standout, a PSB type production, tight with an ‘I’ve subsequently lost my mind luv, apparently I’m going nowhere’ chorus which very much sums up Scattergood’s opinion of herself.
The album’s final track “I’ve Got A Heart” is appropriately heart-breaking; piano and synth chords, beautifully spaced out moments and also the confessional ‘the doctor gave me pills to take, to stop me feeling quite so awake’ line accompanied by strings which help play out the tracks final two minutes. If you don’t like this track then it’s unlikely that Polly Scattergood will be for you. Alternatively the piano led ballad “Miss You” crams in all of her less sympathetic aspects, lyrically and also in respect to performance. It’s whimsical and self-pitying with juvenile lyrics referring to bedroom floors and chimneypot-lined skies.
“Arrows” is an album that sees Polly Scattergood lose some of the things that made her debut oddly compelling. She is clearly attracted to melancholy and that dark disco aesthetic that’s loved by many similar artists but here she is both more diluted and obvious than before. The thing that marked her out as being different, her own relentless self-involvement and a singing style which manages to be downtrodden and girly, are still here but the songs let her down more often than not. The surreal flourishes of songs like “Nitrogen Pink” and “The Bunny Club” from her debut have been replaced by more straightforward song writing and themes and where Scattergood was very good at narrating these kinds of escapist fantasies she is less effective with these kitchen sink type scenarios. There is a place in the electro pop world for Polly Scattergood I’m sure but she many have to go back to her initial influences and eccentricities to push her way back through the very crowded door.
Ok, you weren’t expecting to find Noel Coward here were you? Well, it’s about time you had some proper culture instead of all that pop music nonsense. In the play “Private Lives”, the character Amanda has the memorable line “Extraordinary how potent cheap music is”, which has been quoted virtually everywhere. The broadsheets love to give pop thinkpieces an intellectual feel by throwing this one in, but there’s a whole new slant on it now. Thom Yorke and Nigel Godrich (and a few others) are having hissy fits about the financial returns from Spotify, but they’re missing the real target by a country mile.
The problem isn’t that consumers are only willing to pay a small amount for music. Most of the traditional teenage pop/rock/r’n’b (add your own genre as applicable) music consumers have grown up with the assumption that music is free if you know where to look for it, so why would you ever pay for it? Things used to be really simple; you heard a song on the radio (or in a club) or read about it in the NME and went to your local music shop and bought it on 7” vinyl, 12” vinyl, cassette or CD, depending on your age. The record company took a huge slice of the profit, but the artist got paid, particularly if they had a good lawyer and they wrote the song. The music business panicked in the seventies over home taping, but still pushed the development of digital technology in the eighties not realising they were opening a can of particularly fat, juicy worms.
Digital recording and processing; you can make and keep perfect copies of everything and there’s no degradation no matter how many generations of copies you make. No more tapes or master discs to worry about storing (or having stolen by the band when they don’t like the mix or don’t think their piece of the action is big enough). And then the realisation dawned that if Sony (other labels are available) could make perfect copies, then it was only a matter of time before some under-nourished geek in a bedroom in Dollis Hill worked out how to crack the code and make their own perfect copy, which they generously circulated around the world with that new internet thing. And they were actually complicit in the process when they got behind recordable formats such as Minidisc and Digital Compact Cassette (ask your dad, kids).
Of course it was easy to do a quick and dirty remaster for CD on all of your back catalogue and get the punters to pay to hear them again with a clarity you promised they wouldn’t believe. Have you heard some of those early remasters? Some of them are actually painful to listen to, but we bought into it and duplicated our vinyl with CDs. But the physical CD market was quite healthy because the audio files were massive and transfer speeds on the internet were painfully slow. So, there would only be a problem if someone worked out a way of speeding up the internet and making audio files much smaller; that wasn’t going to happen, was it? MP3 and broadband sorted that one out with a little help from those lovely people at Apple and soon we were downloading MP3s as well.
Of course the music industry tried to defend itself with copyright protection systems (which didn’t work) and litigation (which also didn’t work), so we’re in a position now where creativity has virtually no value. Bands are being asked to pay to play in venues, musicians are being asked for permission to use their work in films for free (for the exposure value) and music writers and photographers are working for peanuts. It couldn’t get any worse, could it?
Of course it could. In a typical “four legs good, two legs better” move, the music industry is showing an interest in Neil Young’s PONO full-fat, uncompressed music delivery system (which Shakey’s been trying to flog for years now, with no success) after years of squeezing sound files as small as you can to get them to sound good on an MP3 player or a phone. It’s CD all over again; if this system ever makes it to the market, then it’s an opportunity to persuade the small market sector that still believes in paying for music to shell out for their favourite albums yet again. But we won’t get fooled again, will we?
Anna Calvi’s debut album was heralded as a new classic within moments of its release. It was florid and troubled, being close cousins to artists such as Nick Cave and with a cinematic cloak draped over it as if imagined by David Lynch at his most romantic and doomed. It was also produced by Rob Ellis, long-time collaborator with PJ Harvey. Ah yes, PJ Harvey. It would be almost irresponsible as a reporter of music not to acknowledge that both artists can share a writing and melodic style, vocal comparisons can on occasion be made between Calvi and Harvey and both fall into the same genre of woman with a guitar (sometimes), not passive, singer-songwriter blues/rock, visually hyper-stylised , entertainer. There are many people who have made records over the past decade or so where the influence of PJH is undeniable but unlike the majority, Calvi’s talent is the actual link between the two and not her desire to mimic Harvey. This is reinforced here on her second album, the radiant and self-possessed “One Breath”. After the stalking guitars and ghostly ‘ooh-oooh’s’ of “Suddenly” and “Eliza” with its thumping strum, it’s only on the third track, “Piece by Piece”, that Calvi deviates from the sonic template previously established on her debut. After the broken and collapsing strings of the intro a rhythmic, tumbling drum snaps into shape and a plucked mandolin and various electronic zips and pops swoon around Calvi who has conjured up the spirit of Siouxsie Sioux here, whilst a scuzzy bass muscles up against an airy string part. The total effect is mesmerising. It’s these string sections, very much a musical theme here, that give “One Breath” its power, the push and pull between light and dark. Producer John Congleton, who has, amongst others, worked with Joanna Newsom and St Vincent, helped create a sumptuous but frequently uneasy and volatile soundscape throughout. Calvi has spoken out about how during the making of this album she suffered from very low moods and that someone very close to her died. It is likely that this in some part went toward dictating the themes and mood of this album and the title track is the boulder around which each track is laid. ‘I got one, I got one breath to give ….it’s going to change everything’ Calvi repeats as though a mantra whilst everything around her is building unforgivingly and then, precisely at the 3 minute mark, a gorgeous orchestral coda breaks through the tension and instantly lifts Calvi, and the listener, wordlessly away to a safer and more beautiful place. It’s both moving and dramatic, a combination of theatre and absolute sincerity. Elsewhere, the near 6 minute “Carry Me Over” with its demonically euphoric final minute of Calvi’s rapturous wails pillowed by the continuing orchestration is a genuine tour de force and “Sing to Me”, which regularly threatens to break into “River Deep, Mountain High”, is an authentic and commanding torch song. After this heightened sensation of a noir love story gone awry , the false start of the rock roll throb of the most straightforward song here, “Love of My Life”, is an unexpected and thrilling thump in the eye. The shortest and perhaps most breath-taking song here is the album closer “The Bridge”, an acapella, choral hymn that chills and will make many misty-eyed with its simple, crystalline beauty. In some ways Anna Calvi has toned down the theatrics and threat that dominated her debut and replaced them with a more nuanced and considered account of a persona under attack but ultimately, and appropriately breathtakingly, breaking free from previous restraints, self-imposed or otherwise. Without doubt the drama and darkness are still present, but on “One Breath” Calvi has created a collection of songs which reflect and show her as an exceptional artist in her own right as opposed to a great artist within the genre. If you want to be genuinely thrilled and startled by music that twists and turns in unpredictable shades and volumes then Anna Calvi has made an album to treasure and completely immerse yourself into, it’s quite an accomplishment.
Tristesse Comtemporaine is a collaboration between former singer of Earthling, Maik, former Japanese punk singer, Marumi and Swedish guitarist Leo (a former hockey player) and “Stay Golden” is their second album. After hearing the album’s opening track a few months ago, I was interested enough to want to hear the rest of the album; intrigued, even. Perhaps I should have just left it at that.
Once you get past the opening tracks, “Fire”, “Stay Golden” and “Waiting”, everything starts to sound very familiar. There’s a template which is applied to almost every track; the opening is minimalist percussion or synth sounds, a breathy vocal comes in and then layers are added as the song progresses. Where this works it works really well, but would you want to have the same food every time you eat?
Some of the elements are interesting; there are some nice synth sounds and the occasional blast of crunching guitar. The vocals are generally breathy and close-miked, sounding like something midway between Chris Difford (Squeeze) and The Beloved’s Jon Marsh, and they initially pull the listener in, like an orator lowering their voice for emphasis but the impact is lost when the technique is used constantly. There’s a lot of repetition on the album (drum patterns, looped synth lines and repeated lyrics) which gives the impression that Tristesse Contemporaine didn’t have enough original ideas for a whole album.
There are moments when the trio achieve what I think they set out to achieve and create moods that are languorous, menacing and disturbing both musically and lyrically. When this happens, it’s very powerful and evocative, but the problem for me is that it doesn’t happen often enough. The alienation evoked by the songs is emphasised in the videos but, ultimately, the project feels like an attempt to seem interesting by being self-consciously strange. It might work for you but it doesn’t really do it for me.
There some very interesting (and disturbing) ideas here musically and lyrically, but they are spread very thinly. Tristesse Contemporaine could have released a very good four or five track EP from this selection, but in this format, it’s a frustrating hint at what could have been a very good album.
Out now on Record Makers (REC 100-01-LC-16765).
The first time I saw Federal Charm, they were supporting Southside Johnny (I know, you’re shocked that I was at a Southside Johnny gig) in Bury St Edmunds six months ago. I was gobsmacked on that night by their playing and confidence but I wanted to see the band play live again before writing a review. Since then, the band have released their first album (and very good it is too) and they’ve been playing shows across the UK. The current tour is a blues/rock package with Laurence Jones and Mitch Laddie. I’d love to tell you about Laurence and Mitch, but I could only stay for the Federal Charm set; next time, guys.
Federal Charm are Nick Bowden (vocals/guitar), Paul Bowe (guitar), L D Morawski (bass) and Danny Rigg (drums) and they’re from Stockport. It’s pretty much the standard rock band line-up with the added bonus that the quality of Nick Bowden’s playing allows the band to drop in a bit of twin lead guitar work to the mix. The relatively short set focuses mainly on the album, ripping through the big riffs of “I’m not Gonna Beg”, “There’s a Light”, “No Money Down”, and “Tell your Friends” before slowing things down with their stunning version of “Reconsider”, giving Paul Bowe the chance to let rip with blues, rock, and funk/rock solos.
So how do you follow the big showpiece song? You speed things up and get some audience participation as well, and if they don’t know your songs well enough then you play something that they do know, the Golden Earring classic, “Radar Love” and it works perfectly as a lead-in to the dirty riff of “Reaction”. Throw in a couple of non-album songs as well and you’ve got a perfectly-paced set of twenty-first century blues rock.
Federal Charm have been together less than three years, but they play with the assurance of seasoned and honed rockers. The rhythm section is rock solid as the band move through changes in tempo and style within songs (particularly “Reconsider”) and Nick Bowden and Paul Bowe are charismatic and energetic frontmen. The two guitars are used together in different ways ranging from straightforward rhythm or riff and lead guitar to more complicated twin guitar stylings with nods to The Stones and Thin Lizzy. It’s not difficult to pick out the influences, but they’re put together with such style that the end result is something that’s pure Federal Charm.
As the opening band in a three band package in London on a Tuesday night, you might expect to struggle, but Federal Charm ripped into their set as if they were playing a sellout gig at the O2, and that attitude made them a lot of friends on the night. There are a couple of things that make this band stand out. The first is that Paul Bowe is a very, very good player and he always looks like he’s having the best time ever. The other is that when you watch Nick Bowden sing, you have to ask where that incredible rock voice comes from, and he doesn’t even make it look difficult.
If you’re into blues, rock, great guitar playing, great singing or any combination of the above, you really should get out and see these guys at any of these gigs.
It’s a couple of years since we last spoke to one of our favourite guitar players, Billy Walton, so I arranged an interview before his show at “Tropic at Ruislip”. As an added bonus, the legendary Roger Mayer (search him online, but as a bit of a clue, he designed effects pedals for Jimi Hendrix) turned up as well because he’s been working with Billy for a few years now. Here’s what happened.
Allan -- It’s been two years since we last did this, at Totteridge, and you were just about to release “Crank it Up”. What have you been up to since then?
Billy -A lot of stuff, we’ve been playing the Jersey shore, tons of gigs; we’ve been writing, writing with friends. There’s a lot of projects in the works right now. We did a whole live thing over the summertime; we had a mobile unit follow us around and we did a lot of recording with that and we caught the fun vibes on the Jersey shore. Right now I’ve been writing and I’ve got about eighteen or nineteen new tunes; maybe do another Billy Walton Band album we’re trying to work on then try and write with other people and have fun and put out some cool stuff. That’s our plans.
Allan -- Before “Crank it Up” was released you were telling me that you thought the songs were stronger on that album.
Billy -- Well, songwriting always evolves and it depends on what you’re feeling. With that one we were going for a Jersey shore laid-back, more soulful type of thing instead of just guitar pyrotechnics like the albums before that.
Allan -- There were a few elements of early Bruce in there as well, the New Jersey feel.
Billy -- Being from New Jersey that kinda comes out it’s always gonna come out.
Roger -- It’s part of the DNA, isn’t it?
Billy -- It’s where you’re from; it’s always going to come out. To dissect the Jersey shore music it’s kind of ahead of the beat, it’s driving all night, in a pumping club on the Boardwalk , and that’s what it’s about.
Allan -- And how are the songs for the new album coming along?
Billy -- There’s a good mix; I want to reintroduce more of the guitar pyrotechnics on the new album, we haven’t picked the songs yet so we just keep writing and we’ll figure out which ones are the best.
Roger -- You haven’t actually decided on whether the line-up for the record is gonna remain constant. There would be no reason for every track to have the same personnel on it; is it fair to say that would be a step different from a production standpoint?
Billy -- Yes, absolutely. On this tour we’re bringing two horns; Richie(Taz) is still playing with us back home but I brought these two horns with us just to switch it up a bit. It’s all about the vibe of the night and it’s the same thing with trying to create an album it’s about getting that vibe and whoever it takes to make that vibe happen.
Roger -- If I can say one thing here: I don’t think your records have ever tried to
capture you playing live. You’ve done the live record, but a studio record is completely different from a live record because it gives you much more scope with what’s possible.
Billy -- And I think that’s what we haven’t captured on our last albums; that live vibe. If you come out to a show, you know it’s controlled chaos.
Roger -- And I think that’s true of Bruce (Springsteen)’s albums too. Live he’s fantastic but I don’t think his albums live up to the live performance.
Allan -- And it’s a great experience, a Billy Walton Band live show because like Bruce and Southside Johnny, you never know what you’re going to get on the night, do you?
Roger -- That’s true, when I was with Hendrix, we deliberately never played the same thing twice any night so you never knew what to expect and that’s a jazz thing as well, which makes it exciting. It means you can see the band three nights in a row and get three and get three different and I think that’s cool, rather than some note-for-note rendition which gets stale very quickly.
Allan -- The last time I saw the band, which was at Barnet on the last tour, you played a solo where you threw the riff from “Kashmir” and the intro from the Chicago song “25 or 6 to 4” and that’s great because nobody’s expecting it.
Billy -- There’s no rules and that’s what I was feeling at that time so I thought let’s get into it.
Roger -- Well there are no rules, are there? That is the rule; there are no rules.
Billy -- That’s right, the band’s having fun and if you saw us last night, tonight’s gonna be totally different and it’s got to be that way because sometimes even the band doesn’t know what’s coming next and that’s great.
Roger -- Should they know?
Billy -- They shouldn’t (laughs).
Allan -- I saw Bruce at the Olympic Park and, you know this is coming, but he walked to the front of the audience, pulled out a request placard, turned towards the band, lifted it in the air and the band launched straight into the song; that’s the mark of a really great band.
Billy -- Like us, the E Street Band are all music lovers. Everybody you see playing that way, you know they have a load of Motown records, they have all the Stax records and they still put them on and that takes them back. One night I went to hang out with the E Street guys in Philly and they played “Higher and Higher” and the place just erupted (Billy sings and finger-pops the chorus for emphasis) and afterwards everyone was just so excited that they did that song.
Roger -- Because a great song played by great musicians gets a great reaction. It’s exciting and memorable.
Allan -- So you’re in the process of raising funds to make the album now; how’s that going?
Billy -- Well, there are many different things we’re trying to do and one is that we’re talking to this guy, Tony Braunagel who’s just produced Curtis Salgado, he’s done Taj Mahal albums and he’s interested in doing an album with us, but that’s not definite; it’s not in stone, we’re just raising funds for the next project. There’s always gonna be a project, because we’re always writing and we’re always playing, but right now that’s the one.
Allan -- And that funding’s happening through indiegogo , isn’t it?
Billy -- That’s right, indiegogo. The way the music industry has gone it’s a great way (to fund an album). It used to be that the label that gave you the money, the producer pays everything, you pay him back, but now fan funding allows the artists to do it themselves and own it.
Allan -- And it allows you give something back to the fans that have funded it as well.
Billy -- Absolutely, they feel a part of it; they get packages where they get so many CDs and other deals.
Roger -- And that’s still only the beginning because it only takes you so far, you still have to try to get airplay. It’s still only the opening pawn move in a chess game.
Billy -- You need a fish to catch the bigger fish.
Allan -- Are there any guitar players that you listen to or you’ve worked with over the last few years that you would recommend to a UK audience?
Billy -- That’s a good question; there’s a lot of great players out there but to name one; Freddie King! There’s a lot of evolutions of Albert King and Freddie King out there.
Roger -- But the thing is can they write good songs? Not that they’ve got some licks that they’ve served up in a generic way. Can they write good songs? That’s what makes them stand out.
Allan -- When I saw you play with the Henrik Freischlader Band in January, it struck me that he can write a good song and he has a very soulful voice as well.
Billy -- The thing is, with players that I like, they have something that you can say “I can tell where they’re from”, they’re unique. They’re not just generic Clapton copies; that’s what I don’t like. What I do like is, there’s a couple of bands in New Jersey that came up after Katrina from New Orleans and these cats can play and you could tell they were from New Orleans; you could hear it, you could feel it and that’s what I like. And it doesn’t have to be a guitar player, it can be any musician.
Allan -- I was surprised a few years ago when I read a Bobby Bandiera interview and he was asked about new music he listened to and he said he didn’t listen to a lot but he did say that he liked Radiohead, which was a bit of a shock.
Billy -- Well, Bobby might have been messing with the interviewer there (laughs).
Allan -- We first met when you were playing with The Jukes; are you focussing on the Billy Walton Band now, or is there a chance that we might see you back with Southside in the future?
Billy -- Absolutely. I’m friends with those guys, Southside is great; I enjoy the whole Jersey heritage and I still do gigs with them once in a while but I’m really trying to focus on my stuff. When you think about it there has to be more generations of music from Jersey. Everybody speaks about Bruce and Bon Jovi but what about Frank Sinatra, the Rat Pack in Atlantic City; there’s evolution there.
Allan -- We spoke briefly during the first interview we did about some of the Jersey Shore bands and musicians; what is it that makes that scene so special?
Billy -- There’s a lot to it. In summertime the Jersey shore is a vacation spot; everybody from Philadelphia, Washington and New York City hits the shore and along the shore there’s a party every night in the summertime and there’s clubs all along the Boardwalk and everybody meets their girlfriends and they dance, it’s that whole scene.
Roger -- It would be like thirty miles of Blackpool but slightly classier. And it’s better than New York because the clubs are bigger.
Billy -- What’s great about New Jersey too is the brotherhood of the bands. There are clubs next door to each other and when you go on break, you walk out and go and jam with your friend’s band next door and they come and jam with you.
Roger -- A bit like New Orleans in a way.
Billy -- With those guys we all know what each other’s doing and the players are interchangeable. We all get together and have fun and listen to music and talk music and that’s what’s different about it.
Allan – It’s great that Bobby (Bandiera)’s been on tour with Bon Jovi for what seems like forever now, but as soon as there’s a break in the tour he goes back to the Jersey shore and he’s playing McLoone’s Boathouse and places like that.
Roger -- Because it’s fun. If you’re a musician why wouldn’t you want to do something different if you’ve been on a tour round the world and it’s boring as hell.
Billy -- You’re right. You’re away from it all and you’re in a bubble. We played Churchill Downs in Kentucky in front of thousands of people with Bon Jovi and that night I got on a plane and flew home to New Jersey and played in front 150 people at a club, a jukejoint and I loved them both because I had fun.
Roger -- We used to do that with Jimi (Hendrix, of course); straight off the stage and straight down the pub and jam, every night.
Billy -- You wanna play, and you wanna have fun, youknow?
Allan -- Have you noticed any changes in the UK audiences over the last 2 years?
Billy -- Yes, there’s a mix; it’s not just the older demographic. We get the traditional blues fans coming out to hear a guitar player. Then you have the Jersey people who buy into that thing of having a good time and having a party and you get the younger crowd so it’s a great mix.
Allan -- I noticed particularly at the gig in Barnet, on the last tour, there were teenagers wearing Billy Walton Band T-shirts and I thought that was great because I’ve seen a lot of blues players recently at shows where I’m the youngest person in the room, and that really worries me.
Roger -- That’s really sad, man. You should look out for a band called the 45s; they sound like the Rolling Stones did in 1965 and Jimmy Page and the guy from Dr Feelgood gave them a bit of a leg-up, but this is guys that are seventeen and nineteen who wanna portray that energy. So the energy is there with younger people; I’ve been working with some younger people who still like the kind of music we’re talking about so it’s obvious that the music goes right across the borders.
Allan -- And do you think we’re starting to see a move back towards guitar-based blues/rock again?
Roger -- In a way yes, but I think people just generally want to see someone perform. You might not like “Strictly Come Dancing”, but at least it’s a live performance; whatever you say, the band’s playing live. So that from that standpoint, nine million people every Saturday are watching celebrities dancing to a live band. It can’t be all bad.
Allan -- I’ve noticed that over the last year I’ve seen some great young and enthusiastic British blues/rock bands and I wonder how much of that is down to what guys like you are doing?
Billy -- Well, you can find inspiration in many different ways. It could be guy playing saxophone that makes you want to pick up an instrument and try that but just getting out there and playing, that’s the main thing. I was fortunate to grow up in a scene in Jersey where I’d go out to a blues club and there’d be older guys and I’d sit in and I’d get my ass kicked every night and the there was a point when I’d go back down there and I’d kick their asses. They introduced me all these songs that I didn’t know and it was ‘“Born Under a Bad Sign”, what is that, what the hell, I’ll play it’. And it just opens you up and I was fortunate to have that, to be able to play with these people and let loose and go with it.
Allan -- And I hear you had a good time playing with Walter Trout this week.
Billy -- Yeah, Walter Trout, he’s a Jersey boy; he’s originally from Ocean City. We had fun; I tried to take my amp off the stage after we opened up and that wasn’t allowed so it was great, we jammed an Elmore James tune and had some fun with it.
Allan -- And that’s what the Jersey scene’s all about I guess, isn’t it?
Billy -- Absolutely; one hundred per cent. On tour, we have bands open up for us and most times we end the night with the band up on stage playing with us. It’s the party, that’s what it’s about to me; what’s gonna happen that night and what picture’s gonna be painted that night. And then tomorrow’s another one.
Allan -- Well, great to meet up again, it’s always good to hear what you have to say and I’m looking forward to the show tonight now.
Billy -- Thank you.
The Billy Walton Band are currently on the second leg of the UK tour, which finishes on November 26th at the 100 Club and you really should get out to see them. Failing that, help
the guys to fund the new album and grab yourself some nice goodies as well.
I’ve had this track for a little while now, waiting for something else to appear that will reveal a little more about the upper case admiring duo and this much I do know; there are apparently two of them. But they have proved to be admirably elusive. Once based in London and now they live on unspecified island, allegedly, in order for them to create the very man-made sounding “Death”.
A glacial and spinning electronic synth riff carries a tune which combines a male vocal reminiscent of Kele Okereke from Bloc Party at his most reflective and a soulful aesthetic similar to that of The Beloved’s late eighties chill-house anthem “The Sun Rising”. The lyrics are also oddly uplifting given the song’s title and when the vocal reassures ‘I’ll hold you in my hand when you cross over to the other side’; it all sounds quite lovely.
Whether HARTEBEEST turn out to be artists that we already know but have taken another route musically, and this could be a real option I feel, or if they are a new band which just wants to create some old fashioned mystery surrounding their identity remains to be seen. This would be an interesting introduction to either, not quite strong enough to lead an album campaign and more than an album track, “Death” sits somewhere in between. Can the real HARTEBEEST please come forward; we are interested to hear more.